A Genius
The Ancient Near-Eastern period of our history marks a very large fundamental change in the way human culture has evolved. At that time, growth of its people and cities had definite improvement on urban society, which has continued to prevail through the years as a major influence over our evolvement. The Artwork found from that period directly reflects that change and evolvement. Better soil, water accessibility, and easier means of trade with other civilizations provided the fabric for this new change. Pieces uncovered by archeologists such as wall reliefs, vases, coins, statues, and jewelry, really show a sophisticated society unlike any seen before its time. One can only imagine what type of people flourished in ancient Mesopotamia, also known as the "Fertile Crescent". Through its villages and cities the Ancient Near Eastern people began to colonize and thus spark the first system of hierarchy. Priests and kings held the rite to the land and the people worshiped t!hem as divine. Palaces in this time of government were adorned with great splendor. Grandiose statues and intricate wall reliefs gave them life. One piece in particular shows Assyria's vision of worship and hierarchy. "Relief Showing the Head of a Win
ecline in power under the rule of Tiglat Pilesar I, Assyria's first true emperor. "It was not until the beginning of eighth century BCE. that Assyria, under the ruthless king Ashurnasirpal II regained its powerful position" (Burenhult 37). Being a ruthless leader it seems, was something that King Ashurnasirpal II practiced with great hostility. "Most of Ashurnasirpal's campaigns were more in the nature of forays in search of plunder, but he succeeded in making Assyria a name that struck panic into the hearts of its neighbors" (Kramer 58). Towards his enemies, the King was heartless. He was a leader whose conquering ways were considerably cruel. "On an inscription, for example, the king reports, with some degree of professional pride: "Many of the captives taken I burned in a fire. Many I took alive; from some I cut of their hands to the wrist, from others I cut off their noses, ears and fingers; I put out the eyes of many of the soldiers. I burnt their young and women t! Papanek, John L. Lost Mesopotamia: the Mighty Kings. Alexandria, VA.: Time-Life Inc., 1995. Head of a Winged Genius exemplifies the convention that objects representing deity and worship should be depicted as beautiful as well as powerful; Beauty through adornment and splendor, power through wisdom and strength. Assyrian's viewing this piece were given an idea of what gods and deities ruled over them, and gave them examples of how to live and worship. This type of representation of power and wisdom is very interesting considering the attributes given to the genius to achieve this knowledge and strength; Jewelry, a distinguishing beard, and hair; A large headdress with three protruding horns; Broad shoulders with wings attached. Today all it takes is a subtle something like eyeglasses or a certain disposition to produce the same effect. This piece really pulls its viewer in making them evaluate the difference between life then and life now, as should all ancient artifacts should. Honour, Hugh & Fleming, John. The Visual Arts: A History. Englewood Cliffs, NJ.: Prentice Hall, Inc., 1992. g
Some common words found in the essay are:
Ashurnasirpal II, Winged Genius, Ancient Near-Eastern, Ashurnasirpal II's, Assyria Kramer, Cradle Civilization, Louise Gardner, Near Eastern, king ashurnasirpal, II King, King Ashurnasirpal, ashurnasirpal ii, king ashurnasirpal ii, winged genius, palace king ashurnasirpal, ashurnasirpal ii's, northwest palace, head winged genius, palace king, head winged, wall reliefs, king ashurnasirpal ii's, directly reflects, relief head winged, north palace,
Approximate Word count = 1421
Approximate Pages = 6 (250 words per page double spaced)
|
